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Junior Varsity
Compression
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<blockquote data-quote="Eric Cagle" data-source="post: 89276" data-attributes="member: 277"><p>Re: Compression</p><p></p><p>Ok I will weigh in on this one. Let me first say that I came from the recording studio before live sound and I had many many hours behind the monitors learning what my various tools did. I have mixed many shows with NO compression whatsoever and sometimes still do if the musicians and vocalists are good enough and I have racks of DBX 160 and 1066 always available and all of the various digital offerings as well. Here are my thoughts for what it is worth:</p><p></p><p>The only "have to have" compressor settings I use are:</p><p></p><p> 1)Bass guitar if it is run direct. This instrument can be all over the map with dynamics, even more than a really inexperienced vocalist. A 3:1 ratio (up to a 4:1 max) is a good place to start with the threshold set around 0db if you are gained in correctly. You are trying to tighten up that flappy sound and get a more even output (and save massive headroom) without being dull and muddy. The magic happens when you back off the attack a little to allow the slaps and picking dynamics to come through while still having the tightness of the compressor grabbing the peaks. Use your ears and you will get a feel for what your particular compressor will do.</p><p></p><p>2)A Vocalist who doesn't know how to work a mic (which unfortunately is most of them). Again I like to start at about the same settings as for the bass except leave the attack at max or just back off a touch if you are wanting to let a little personality through but be careful because you need the compressor to grab the peaks pretty quickly. The trick is to smooth out the peaks and leave the rest of it alone. I usually see no compression happening until the singer starts belting it out and then a 3:1 ratio really makes things smooth without sounding unnatural.</p><p></p><p>That is it for the "have to have" things. There are hundreds of other things a compressor can be useful for but you start getting into "effects", personal taste, and compensation for poor muscianship. The only other thing I occasionally like to have is a compressor on accoustic guitar but you can go to "lifeless and boxy" really quick if you use too much ratio and you don't back off the attack and release a bit. 2:1 or 3:1 MAX ratio on this one and just tame it a little tiny bit or there will be no "feel" at all.</p><p></p><p>If you only have one compressor available you can use it on the main output at the 3:1 ratio with it just coming in on the peaks to smooth everything out and get more of a "radio" sound and also catch those vocal moments when you really need a limiter. The DBX 1066 has a contour button which filters the bass frequencys and will let more of the kik drum through without triggering the comp. It also has adjustable attack and release times which can be backed off a little to make everything sound a little more natural. </p><p></p><p>Just my thoughts. Good luck with it!</p><p>-Eric</p></blockquote><p></p>
[QUOTE="Eric Cagle, post: 89276, member: 277"] Re: Compression Ok I will weigh in on this one. Let me first say that I came from the recording studio before live sound and I had many many hours behind the monitors learning what my various tools did. I have mixed many shows with NO compression whatsoever and sometimes still do if the musicians and vocalists are good enough and I have racks of DBX 160 and 1066 always available and all of the various digital offerings as well. Here are my thoughts for what it is worth: The only "have to have" compressor settings I use are: 1)Bass guitar if it is run direct. This instrument can be all over the map with dynamics, even more than a really inexperienced vocalist. A 3:1 ratio (up to a 4:1 max) is a good place to start with the threshold set around 0db if you are gained in correctly. You are trying to tighten up that flappy sound and get a more even output (and save massive headroom) without being dull and muddy. The magic happens when you back off the attack a little to allow the slaps and picking dynamics to come through while still having the tightness of the compressor grabbing the peaks. Use your ears and you will get a feel for what your particular compressor will do. 2)A Vocalist who doesn't know how to work a mic (which unfortunately is most of them). Again I like to start at about the same settings as for the bass except leave the attack at max or just back off a touch if you are wanting to let a little personality through but be careful because you need the compressor to grab the peaks pretty quickly. The trick is to smooth out the peaks and leave the rest of it alone. I usually see no compression happening until the singer starts belting it out and then a 3:1 ratio really makes things smooth without sounding unnatural. That is it for the "have to have" things. There are hundreds of other things a compressor can be useful for but you start getting into "effects", personal taste, and compensation for poor muscianship. The only other thing I occasionally like to have is a compressor on accoustic guitar but you can go to "lifeless and boxy" really quick if you use too much ratio and you don't back off the attack and release a bit. 2:1 or 3:1 MAX ratio on this one and just tame it a little tiny bit or there will be no "feel" at all. If you only have one compressor available you can use it on the main output at the 3:1 ratio with it just coming in on the peaks to smooth everything out and get more of a "radio" sound and also catch those vocal moments when you really need a limiter. The DBX 1066 has a contour button which filters the bass frequencys and will let more of the kik drum through without triggering the comp. It also has adjustable attack and release times which can be backed off a little to make everything sound a little more natural. Just my thoughts. Good luck with it! -Eric [/QUOTE]
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